유민(遺民)의 실존과 ‘적막(寂寞)’ 의경(意境): 운수평(惲壽平) 국화(菊花) 제발(題跋) 연구

초록

This study aims to examine the structural formation of the aesthetic realm of “tranquil solitude” (jeokmak, 寂寞)—the ultimate artistic state achieved by the early Qing loyalist painter Yun Shouping (惲壽平, 1633–1690) — and the process of its philosophical transformation as revealed through his chrysanthemum inscriptions (tiba, 題跋). Having personally experienced the historical upheaval of the Ming–Qing transition, Yun regarded the chrysanthemum not merely as a subject of floral representation but as an existential symbol embodying moral integrity and the painful consciousness of a displaced loyalist amid historical tragedy. The first part of the study analyzes how the tradition of Qu Yuan’s Li Sao (離騷) manifests the sentiment of tragic lament (beigai, 悲慨) in Yun Shouping’s chrysanthemum inscriptions. However, Yun’s aesthetics does not remain confined to tragic expression. Triggered by the frustration of loyalist restoration symbolized by events such as the death of Wu Zuxi, his thought enters a new phase through Tao Yuanming’s reclusive ideal and Zhuangzi’s philosophy of transformation (wuhua, 物化). This marks an ontological transformation in which personal sorrow becomes integrated into the cosmic process of vital transformation (qihua, 氣化). The central concept of tranquil solitude is thus defined as an aesthetic realm attained through this transformation, representing a dialectical unity between the “image beyond form” (xiangwai zhixiang, 象外之象), which captures the dynamic vitality of all things, and the “realm beyond the scene” (jingwai zhijing, 境外之境), where contemplative awareness encounters inner stillness. This study demonstrates that Yun’s notion of solitude is not psychological loneliness but an existential state of seeing the singular (jiandu, 見獨), in which one embraces the transient transformations of the world while communing with the spirit of Heaven and Earth. Ultimately, Yun Shouping’s chrysanthemum paintings embody the principle of the fusion of emotion and scene (qingjing jiaorong, 情景交融), uniting unresolved human emotion with the eternal transformations of the cosmos within a single pictorial space. They manifest an artistic realization of transcendence and the equality of all things (wanwu qitong, 萬物齊同). Distinguished from orthodox aesthetics that emphasized the replication of classical models, Yun’s art opened a new horizon for subjective creation of aesthetic realms in early Qing painting history, thereby establishing its significant scholarly value.

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